Bortoluzzi Thresholds

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1. Introduction

This chapter1

provides a multimodal analysis o a printed advert campaign ocus-ing on corporate identity. The papers main goal is to analyse how the interplaybetween visual and verbal modes o communication constructs complex layers omeaning in Totals 2005 advertising campaign and how dierent aordances overbal and visual communication are co-deployed in such a way as to enhance theadverts main claims. In particular, the paper investigates how these aordancesmultiply the layers o meaning, creating a polysemous message that can be in-terpreted in dierent ways by dierent groups o stakeholders. The main teneto this study is that visual and verbal work together to contribute to the advertsclaims and their construction o corporate identity. While oregrounding dier-ent aspects o semiotic resources and tapping into dierent but complementary

cultural stereotypes, visual and verbal components create a synergic and inte-grated means to communicate ideological consensus and narcotize potentiallyadverse aspects relating to the companys practices. The study builds on work by

Vasta (2000, 2001, 2002, 2004) in multimodal analysis and in the eld o corpo-rate advertising (2005 and this volume; see also Bortoluzzi & Vasta, 2007): theocus o these studies relates to companies manuacturing or dealing in goodspotentially harmul to the environment or to local communities. The article be-gins by presenting the theoretical background, the ramework o analysis andthe type o data (the print advertisements o the 2005 Total campaign); this is ol-

Energy and its double:a case-study in CriticalMultimodal DiscourseAnalysis

maria bortoluzziUniversity o Udine


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159energy and its double

lowed by an analysis o the verbal and non-verbal components o the print adver-tisements. In the nal sections, the ndings will be interpreted and evaluated.

2. The theoretical studies underlying the analysis

The theoretical ramework discussed here is derived rom studies on discoursein context and pays particular attention to Critical Discourse Analysis. As Fair-clough and Wodak (1997) remark:

CDA [Critical Discourse Analysis] sees discourse - language use in speech and writ-ing - as a orm o social practice. Describing discourse as social practice implies adialectical relationship between a particular discursive event and the situation(s),institution(s) and social structure(s) which rame it. A dialectical relationship is a two-way relationship: the discursive event is shaped by situations, institutions and socialstructures, but it also shapes them. To put the same point in a dierent way, discourseis socially constitutive as well as socially shaped [...]. Both the ideological loading o par-

ticular ways o using language and the relations o power which underlie them areoten unclear to people. CDA aims to make more visible these opaque aspects o dis-course. (Fairclough and Wodak, 1997: 259).

As Fairclough and Wodak point out, CDA sees itsel not as an objective socialscience, but as a orm o intervention in social practice which is engaged andcommitted (see also Fairclough, 2003: 14-15). It addresses issues o power rela-tions and ideology embedded in language, especially in cases in which socialand linguistic conventions make them appear natural, neutral and not sociallyconstructed as they are in actual act (Wodak, 2001: 6). CDA is not a method or aschool, but rather, it aims to oer a dierent mode or perspective o theoriz-

ing, analysis and application throughout the whole eld. (van Dijk, 2001: 352).Van Dijk explicitly states:

Critical Discourse Analysis (CDA) is a type o discourse analytical research that prima-rily studies the way social power abuse, dominance, and inequality are enacted, repro-duced, and resisted by text and by talk in the social and political context. With suchdissident research, critical discourse analysts take explicit position, and thus want tounderstand, expose, and ultimately resist social inequality. (van Dijk, 2001: 352).

The goal o Critical Discourse Analysis is to empower language users and raisetheir awareness about the connections between language and socio-cultural

context, communicative conventions, power relations and ideology (Fairclough,1992a, 1992b, 2001, 2003; Blackledge, 2005). In present-day communication, lan-guage is usually intermeshed with a variety o other modes o communication,whence the need or what may be called Critical Multimodal Analysis: a combina-tion o the tools o Critical Discourse Analysis integrated with those o multimo-dal communication. In this study, I adopt some o the tools oered in Kress andvan Leeuwen (2001, 2006), Baldry (2000), Kress (2003), Iedema (2003), Cheong(2004), Lim (2004), van Leeuwen (2005) and Baldry and Thibault (2006). In theirseminal workReading Images Kress and van Leeuwen (2006) write:


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[T]he multimodality o written texts has, by and large, been ignored, whether in educa-tional contexts, in linguistic theorizing or in popular common sense. Today, in the ageo multimedia, it can suddenly be perceived again. (Kress and van Leeuwen, 2006: 41).

Iedema highlights our human predisposition towards multimodal meaningmaking and thus suggests re-visiting and blurring the traditional boundaries

between and roles allocated to language, image, page, layout, document design,and so on. (Iedema, 2003: 33)

Studies such as Kress and van Leeuwen (2002, 2006), Iedema (2003), Cheong(2004), Lim (2004) and Hagan (2007) are among many recent attempts to ac-count or the co-deployment o a combination o semiotic resources in print me-dia (Lim, 2004: 220). What Lemke has dened as a multiplication o meaning(Lemke, 1998) constitutes both the interest and the complexity o multimodalanalysis, still struggling to nd a uniying ramework o analysis or dierentsemiotic codes interacting in the same text (Lim, 2004).

The view o language and communication inorming the studies mentionedabove derives, at least in part, rom work done in systemic unctional grammar

(Halliday, 1985/1994; Halliday & Matthiessen, 2004); in the present article, as insome o the studies on multimodality it builds upon, the systemic approach iscomplemented by aspects derived rom the elds o pragmatics and discourse.

More specically, it builds upon the work done by Vasta (2000, 2001, 2002,2004, 2005) on the multimodal analysis o advertising texts produced by politicaland corporate agencies. Vasta (2005 and this volume) analyses recent advertisingcampaigns o oil companies and shows their need to convey discoursally and visu-ally their concern or ethical commitment at the local and global levels, seekingconsensus and construing a corporate identity which deviates rom the common-ly perceived one in order to laminate away any possible negativeconnotation.

3. The campaign chosen for the multimodal analysis

The adverts chosen or multimodal analysis are taken rom Totals 2005 corpo-rate campaign. The whole campaign, interestingly entitled Energy doubled, canstill be ound as a link in the companys homepage (Total, 2005), together withthe 2006 and 2007 campaigns (Energy doubled, episode 2 and Energy doubled, epi-sode 3). The rst campaign was considered so successul that the ollowing oneswere built on similar principles2. The three campaigns include print adverts(published in newspapers and magazines) and TV commercials; they have been

translated into dierent languages and launched in various countries (Europeancountries in 2005 and Europe, China and the Middle East in 2006 and 2007). Inan 2005 online interview, Yves-Marie Dalibard (Totals Director o Communica-tion) remarked that the campaign was devised to raise brand awareness: oneo the most striking characteristics o the whole campaign is the theme o thedouble, which translates visually into the division o the semiotic space into twoseparate and related sections. Hence double-spread pages in magazines or twodierent videos broadcast together by splitting the screen horizontally into twoparts (split-screen technique). This visual rhyme scheme is the most salient and


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oregrounded characteristic o the adverts and will be discussed at length. (Total,2005, The Campaign). Specically, I will discuss the series o our print advertswhich made up the 2005 campaign in English-language magazines and news-papers (see Figures 1-4). For the sake o simplicity, I will use the term addresserto indicate the company which advertises itsel through the advert. Addresseesrepresent the groups o intended recipients that see and read the advert (stake-

holders) negotiating its meanings and possible interpretations. I will also userepresented participant (Kress & van Leeuwen, 2006: 48) to identiy the humanparticipants represented in the images in the adverts.

4. Generic Structure Potential of print adverts

The multimodal quality o print adverts has been analysed by Cheong (2004) interms o a comprehensive and fexible ramework identiying the Generic StructurePotential o print adverts and integrating visual and verbal aspects. Cheongs work isdesigned to capture the multi-semiotic interaction between visual images and lin-guistic text in print advertisements (ibid.: 164) and proposes a model o GenericStructure Potential which builds on Hasans work (1989). Cheongs analysis o-cuses on the Ideational metaunction, even though some o the strategies sheidenties in the interaction between the visual and linguistic aspects o print ad-verts also encompass the Interpersonal and Compositional/Textual metaunctions.

Generic Structure Potential (GSP) expresses the total range o optional andobligatory elements in a text (Hasan, 1989: 64). Since in the case o print advertsthese elements are both visual and linguistic, Cheong proposes the ollowingGSP (non-obligatory elements are in brackets):

Lead^(Display)Êmblem^(Announcement)^(Enhancer)^(Tag)^(Call-and-VisitInformation)3

It can be argued that this model o GSP best reers to those print adverts whichtend to be rather prototypical or easily identiable as adverts. In some cases otext hybridization, one o the two elements which Cheong considers obligatorymight not be present. Possible examples o non-prototypical adverts are adver-torials which are printed to appear like inormation articles in magazines, andwhich might not have any Lead or Emblem. Pictures in specialised magazinescan also be non-prototypical adverts: no Emblem might be present, but they doadvertise items mentioned in the articles. Leaving aside the case o non-proto-

typical print adverts, it is interesting to note that the GSP proposed by Cheongshows as obligatory only those components which are visual or mostly visual(the Emblem can be both or either, but the Lead is mainly visual); all this high-lights the need or a multi-semiotic analysis o print adverts which shows theclose and complex interaction between visual and linguistic components.

The elements o the GSP (as identied by Cheong) that are present in the Totaladverts are the ollowing: Lead^Primary AnnouncementsÊnhancerÊmblem. Inthe course o the analysis, I will show, within a systemic-unctional ramework,how this model captures the interaction o the visual and the linguistic elements.


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Focusing on the Ideational metaunction, Cheong identies our commonstrategies or meaning-making between the two semiotic codes and relates themto the interaction o the GSP components and their contribution to the interpre-tation o the adverts:

The Bidirectional Investment o meaning reers to the cross-investment o lexico-

grammatical meaning in the linguistic text in the Announcement to the visual imagein the Lead and vice-versa. The Contextualization Potential (CP) reers to the degree towhich linguistic items in a print advertisement contextualize the meaning o the vis-ual images. In a print advertisement, viewers have an Interpretative Space (IS) withinwhich to create meaning and the wider the IS, the greater the Semantic Eervescence(SE) o the advertisement. (Cheong, 2004: 176)

Whereas these strategies are presented as having an eect at the same level oanalysis, it is obvious rom the diagram that ollows in Cheongs analysis (ibid.:177), that Bidirectional Investment o meaning is overarching and is located ata higher level with respect to the other three strategies. This impression is con-

rmed (but never overtly acknowledged by Cheong) by the act that the threestrategies CP, IS and SE are placed on a continuum relating them to the core com-ponents o GSP: a low Contextualization Potential o the elements (mainly infu-enced by Lead and Primary Announcement) corresponds to a wide InterpretativeSpace and a high Semantic Eervescence. At the other end o the continuum, ahigh Contextualization Potential corresponds to a narrow Interpretative Spaceand a low Semantic Eervescence (the Enhancer tends to restrict the range opossible meanings created by the interaction o Lead and Announcements).

In the analysis o the Total adverts, Cheongs categorisations will be usedwith the proviso that, since some o her conclusions are rather too clear-cut, theymight not be applicable to all print adverts as she seems to imply. In particular,

the main diculty in applying her ramework in a satisactory way derives romthe act that the GSP components are identied as mainly visual or mainly verbaland discussed as such in terms o their Ideational meaning (which is the ocuso her study). Prototypical print advertisements, however, are inherently both,and subdivision and analysis o the dierent components do not entirely capturethe complexity o the whole composition in context and in its interaction withthe readers/users (see Iedema, 2003 and Hagan, 2007). One aspect that Cheongnever mentions in her analysis, but is rather important with adverts, is the actthat the Enhancer (bodycopy) is usually overlooked by addressees, while the im-ages and headlines (Lead and Primary Announcement) tend to be overwhelm-ingly oregrounded and noticed in the interpretation. Additionally, Announce-ments and Emblem usually have such visual relevance that they can hardly beconsidered mere linguistic components (see Hagans study, 2007, about the in-fuence o graphics on cohesion in written language). As will be seen below, inthe Total adverts Announcements have such signicance in the composition andblend so well with the Lead that they could be interpreted without reading anyo the linguistic components apart rom the Emblem. The iconic value o the GSPverbal components is never clearly mentioned in Cheong who, instead, careullyanalyses the Bidirectional Investment o meaning between visual and linguistic


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aspects o adverts. Another problem with Cheongs ramework is the assumptionthat the mainly visual components tend to have a lower Contextualisation Poten-tial than linguistic components; again this is applicable to most print adverts,but not all, as will be shown in the sections that ollow.

5. Image and identity

As dened by van Leeuwen (2005), composition is about arranging elements people, things, abstract shapes, etc. in or on a semiotic space or example, apage, a screen, a canvas, a shel, a square, a city. (van Leeuwen, 2005: 198). In the

Total adverts the composition is divided into two sections which give the impres-sion o parallelism both in terms o visual images and body copy. As an exempli-cation o the analysis, I will use the rst advert in the 2005 campaign reerringto it as the blue advert because o its dominant colour (see Figure 1); the ndingsor the our print adverts will be summarised at the end o each section.

Kress and van Leeuwen identiy three interrelated systems that contribute tocomposition: information value, salience andframing (Kress & van Leeuwen, 2006:18). While the rst and third systems will be mentioned in the sections that ol-low, here I will dene and analyse some aspects o the second system.

Salience consists in the elements (participants, and representational andinteractive syntagms) that are made to attract the viewers attention to dier-ent degrees, as realized by such actors as placement in the oreground or back-ground, relative size, contrast in tonal value (or colour), dierences in sharpness,etc. (ibid.: 177). Salience results rom dierent variables that interact in complexways to create a hierarchy o elements attracting the viewers attention to thecomposition. Some o these elements are size, sharpness, colour-coding orienta-

tion, perspective, etc. (ibid.: 201-203).The most salient set o characteristics in the whole Total campaign are those

construing its double quality where double, on a par with the meaning o a per-sons look-alike, gives the idea o resemblance between various compositionalitems. The parallelism o the two sections is created by the use o colour, shapesand writing, and becomes a repeated visual rhyme which gives cohesion to thewhole campaign (Kress & van Leeuwen, 2006: Ch 6; van Leeuwen, 2005: 13).

In the blue advert (Figure 1), the double quality is created by the use o colourswhich are modulated on many dierent shades o blue, which is dominant, andthe more limited use o white (in the light and bodycopy typeace) and black inthe composition. Colour modulation is considered one aspect o visual modality

(Kress & van Leeuwen, 2002, 2006: 154 et passim; van Leeuwen, 2005: 160 et passim),which concerns the extent to which there is a commitment to reality on the parto the addresser o the advert and whether this is perceived as such by the address-ee (verbally, this would be classied as epistemic modality4). The overall eect oairly saturated colours and a highly modulated image in terms o shading is bothrealistic (reerring to the world in which we live) and ideal (the world in whichwe would like to live; related in particular to the contrast between bright lightand dark patches) (see Kress & van Leeuwen, 2006: 160; van Leeuwen, 2005: 167).


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The eect o parallelism is also oregrounded by the continuing line o thelandscape which goes rom one section o the advert to the other and by the di-agonal vector created by the virtual diagonal line o the white fash o light onthe let, the outline o the underwater landscape on the let-hand side, the lineo the horizon, the white headline and body copy and the light o the sun in thesky on the right-hand side. This virtual vector, which leads the viewers atten-

tion towards the sun in the top let corner, is reinorced by the vector created bythe sunlight refected on the sea rom the bottom let upwards. It is interestingto note that the composition constructs an apparent triangle whose vertices arethe light o the torch underwater, the sun and the Total logo: these are the threeelements which rhyme in shape and create a salient relation between light, sunand the company. In this visual narrative, a powerul analogy between the meta-phorical meaning o light (the enlightenment o knowledge, see section 7 below)and the value o the company is subtly but unequivocally established; it is pur-poseully not easy to establish which o the vertices is the Actor (the participantrom whom or which the vector departs, Kress & van Leeuwen, 2006: 59) or whatGoals exist (the participant to whom the action is done, or at whom the action isaimed ibid.: 64), since light comes rom the torch, the sun and, metaphorically,rom the company represented by the logo.

Visual rhymes and mirror-like images are the common characteristics o allour print adverts. For instance, the sand and snow advert (Figure 2) uses a circu-lar path and the participants dressed in summer and winter clothes as powerulmetaphors or research and human development which bring about better livingconditions in a natural way. The colours chosen vary rom advert to advert, butshare saturated realistic colours verging on the hyperreal (see in particular theroad and eld advert in Figure 3 and the wind advert in Figure 4).

In the next sections, the multimodal texts will be analysed in terms o Given/

New and Ideal/Real and a new parallelism will appear between visual composi-tion and language.

Figure 1. The blue advert


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Figure 2. The sand and snow advert

Figure 4 The wind advert

Figure 3 The road and eld advert


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6. Given and New: the information value of discourse and images

Kress and van Leeuwen (2006) dene inormation value as:

[t]he placement o elements (participants and syntagms that relate them to each otherand to the viewer) [which] endows them with the specic inormational values at-

tached to the various zones o the image: let and right, top and bottom, centre andmargin. (ibid.: 177)

In particular, they adapt the categories o Given and New used in systemic unc-tional linguistics by Halliday (1985/1994; see also Halliday & Matthiessen, 2004)to the analysis o visual design and note that in Western cultures Given inorma-tion is usually displayed on the let o the composition, while New inormationis located on the right (Kress & van Leeuwen, 2006: 179 et passim; see also vanLeeuwen, 2005: 201 et passim). This aspect is particularly salient in all the adverts,in both visual and linguistic terms. Taking the blue advert as a representative ex-ample, the picture on the let is metaphorically related to its headline and infu-

ences its interpretation: Total openly acknowledges that there is an oil issue andthat it is being reviewed. The imperective process reviewing presents the oil issueas an ongoing general concern; the agent/Actor is implied since the verb orm isnon-nite. In act, the implied agent/Actor is very clear because it is metaphori-cally and cohesively represented as the Total explorer who plunges into the depthso a communal problem looking or solutions through science and technology(represented by the light o the deep-sea divers torch). The depths are both thedepths o research and scientic discovery and, in concrete terms, the depths othe oil elds discovered under the seabed. The common problem is presentedas Given inormation and shared knowledge. The inerence that the addresseedraws rom it is that Total is reviewing a problem which exists independentlyo the company, and that the work being done by Total is or the common good.

The New inormation is presented on the right as the solution to the problemposited in the let-hand upper quadrant, by the headline, AND BRINGING NEWSOLUTIONS TO THE SURFACE. The two headlines are placed in an apparent mirror-like position, but the colour o the type-ace is white and, thus, visually cohesivewith the sources o light which represent, metaphorically, the light o enquiry,research and discovery. This is oregrounded by the metaphor used in the head-line on the right which exploits the semantic eld o oil exploration (bringing tothe surface) but also o scientic discovery and a passage rom the unknown (is-sue, depth; the depths o the sea and the blue headline on the let) to the light o

knowledge (solution, surface; the bright light o sunshine which illuminates thelandscape and opens up distant horizons or the participant; white headline onthe right). Again, by deault, the implicit agent/Actor o the material process is

Total. The act that the agent is not explicitly mentioned urther reinorces theinvolvement o the addressee in processing the meaning o the advert, and cohe-sively links visual and verbal cues: the triangulation o the round objects repre-sented by the light o the torch, the light o the sun and the Total logo (made up olines derived rom the letter T and orming a globe). It is interesting to note thatraming (see below) ocuses the addressees gaze on the Total logo ollowing theline o the Total slogan which contains the key term in the whole advert: energy.


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All the Total print adverts achieve the result o explicitly representing the ar-gumentative pattern problem solution, visually and linguistically; otherwise,this tends to be verbally conveyed (Hoey, 1983, 1986, 1994; see also Vastas analy-sis o Shell print adverts, 2005). In particular, all the headlines in the print advertsdraw attention to the visual metaphor presented in the image and are composedo the two sections o the Problem Solution argumentation. In two out o our

headlines the word solution is explicitly mentioned and in one case (the roadand eld advert in Figure 3) the problem is visually and humorously presentedin the picture o a car which has run out o uel: the human participants cannotproceed in their quest without the help o Total. The Problem Solution patternis powerully conveyed by a Bidirectional Investment o meaning operating attextual level between the Lead (images) and the Announcements, Enhancer andEmblem, as will be discussed in the ollowing sections.

7. Real and Ideal in images and text

Following Kress and van Leeuwen (2006) and van Leeuwen (2005), the visualspace o a multimodal text can be divided along the horizontal and vertical axes:the top hal tends to represent the ontological space o the Ideal and the bottomhal that o the Real. These are complementary to the Given / New division: inthe blue advert (Figure 1), visual and verbal metaphors combine to show that theoil issue (the depth o the seabed, Real) is broached, and thanks to Totals research(bottom right slogan linked to the logo, Real), the Ideal solution is ound and ismetaphorically represented by sunlight positioned in the top right corner (theIdeal and New inormation space). Sunlight is an archetypal metaphor whichreers to the power o knowledge, discovery and invention, but also represents

the practical solution mentioned in the bodycopy to the energy problem: solarpower. The sunrays are vectors that point to how the solution is brought to earthby the reality o the company (globe-shaped logo) to all o us: ourenergyisyouren-ergy(slogan). The Total logo and slogan are positioned outside the picture in thebottom right-hand corner o a white rame5which surrounds the whole advertand connects, in decoding and interpretative terms, the double images: Total isthe agent o the solution to the energy issue and the Real New bringer o knowl-edge and energy to the world using the power o research and knowledge (light)and Ideal solutions to energy problems (New Ideal).

The human element appears in both pictures in the let hand section, on theimaginary line separating the Ideal (human research and Total) and the Real (at

the interchange between the two worlds o Ideal and Real, even though tendingtowards the Real and pointing at the viewer) and on the let o the Given and Newsections. In the case o the deep-sea diver, his light is a demand or the addresseesto interact, a call to action (eeling involved in reviewing the energy issue) (Kress& van Leeuwen, 2006: 116 et passim). The vector is the arm stretched out towardsthe depths o the problem. The other male participant oers the addressee thesolution proposed by Total (ibid.: 124 et passim) looking towards the sun (New andIdeal). The vectors o the sunrays pass diagonally through the white bodycopyand ocus the readers attention on the lit-up coastline and the Total logo. The


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visual triangle which has round shapes (torchlight, sun, logo) at the three verti-ces contains a man in the centre looking at the ideal horizon o light and novelty.

The advert collates and confates the powerul archetypal connotation o the ourelements: water, earth, air and re (the sun and energy). Thus, consensus is visu-ally created on apparently shared and non-controversial values represented bythe attractive archetypical images o the sea and the sun in the sky alluding to the

companys emotionally charged, quasi-divine quality.All our print adverts present a clear compositional pattern whereby the prob-

lem is visually posed in the Given Real section o the advert and the solution isoered in the New section both in words (headline and bodycopy in the NewIdeal section) and picture. The image in the New section oten clearly presentsthe realised solution in the New Ideal section: the sun, the house ull o light andwarmth in the middle o winter, the clear sky and countryside, the windmill. InCheongs words (2004), the Bidirectional Investment o meaning between Lead,

Announcements, Enhancer and Emblem tends to contribute to a Contextualiza-tion Potential and restricts the Interpretative Space within the Problem Solu-tion pattern.

In the ollowing section, headlines, bodycopy and slogan will be analysed andtheir close interrelation with the images and the theme o the double will be dis-cussed in terms o the Bidirectional Investment o meaning and Generic Struc-ture Potential components.

8. Seeing language and reading images

Sub-section 8.1. deals with the analysis o verbal communication in the advertwhile Sections 8.2. and 8.3. pull the dierent communicative strands together o-

cusing on the powerul interaction o visual and verbal-communication, and, inparticular, on how the interaction between visual and verbal modes contributesto creating inerences and guides interpretation.

8.1. The headlines

As Cheong (2004) remarks in her discussion o the Generic Structure Potentialo print adverts, the juxtaposition o the linguistic texts and visuals sets up Tran-sitivity processes that invest meaning rom the linguistic code to the visual codeand vice-versa (ibid.: 178). As will be shown in the analysis o the Total adverts,

the Contextualisation Potential o the Primary Announcements infuences theInterpretative Space o the Lead and limits its Semantic Eervescence (and henceits scope or interpretation) within the Problem Solution pattern.

REVIEWINGTHE OIL ISSUE

IN DEPTH

AND BRINGINGNEW SOLUTIONS

TO THE SURFACE


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As already mentioned in the previous sections, the headlines (Primary An-nouncements) are placed as apparent mirror images in dierent colours: blueor the headline presenting the problem in the Given section; white or theheadline providing the solution in the New section. This choice o layout cor-responds to the apparent mirror-like quality o the images and clearly reers tothe theme o the double used also in the title o the campaign (energy doubled).

There is also a perect parallelism in the grammar structure: present participle +object noun phrase + prepositional phrase; in systemic unctional terms: Process:Material^Goal^Circumstance (o Manner or o Location).

The non-nite clauses generalise the statements and implicitly reer to theonly possible implied subject/agent: Total / we. In this way, the company is pre-sented as taking up a generalised problem or society (energy) that concerns eve-rybody, reviewing the oil issue and oering new solutions. The lack o an explic-itly mentioned agent (Actor) has the eect o generalising the issue, making itrelevant or everybody (thus including the addressee o the advert) and pointingtowards the only possible agent explicitly presented in the logo and the bodycopy(Total). The Actor seems to be generalised and widely inclusive: the issue is en-coded as Given inormation, shared knowledge and a generalised concern.

The implied subject/Actors o the verbs in the headlines (Total / we) is cohe-sively related to the subjects o all nite clauses in the bodycopy, the slogan andthe logo (analysed in the ollowing sections).In this context, the innitival verb orm is not used to delete or hide the agent,but rather to oreground it implicitly by incorporating its identity into a widercommunity and by telescoping the problems, interests and aims o one with theother. Should the receiver not read the small print, but only the block capitals, s/he will still perceive Total as the deault subject o the non-nite clauses. Agencyis implicit and easily retrieved. The participants in the advert (the deep-sea diver

and the man on the cli looking out towards the horizon) become representa-tive o the human condition. The participant in the Given section searches orsolutions, scientic truth, better living conditions going through the dicul-ties o deep-sea conditions (dark, cold and inhospitable). The participant in theNew section nds the light o ideal solutions, better uture lie conditions andthe light o knowledge. The two participants represent the position, activity andidentity o the company but also, ideally, the more general condition o people onthe earth (including the receiver o the advert) as presented in a stereotypicallypositivist way (rom darkness to light using science and the power o the humanmind). It is also possible to read the advert as intertextually reerring to an idealand Romantic quest or truth and knowledge: the composition o the New sec-

tion o the advert recalls the amous Romantic painting The Wandererby CasparDavid Friedrich (see Appendix 2) (visual intertextuality).

The parallelism o the images is reinorced and oregrounded by the paral-lelism o the language in the headlines. The verbal processes, contained in the

Thematic part (Given), are Material actions used metaphorically as Mental: Bring(Material) becomes the Mental Process which means think of, come up with, andthereore reconsider the oil issue. This ideational metaphor conveys the impressionthat the action o the company (the implied Actor/Senser) creates ideal solutions


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(Goal/Phenomenon given as New inormation). The Circumstances in depth / tothe surface, in end-ocus, complement the images and telescope the literal andmetaphorical meanings (with the literal meaning highlighted by the images).

The colours o the headlines mirror and parallel the main metaphor expressedby language and by the pictures: Material and Mental processes are intertwinedin a complex metaphor o unearthing solutions (oil) bringing people the light

o discovery and clean energy (solar power). Pragmatically, the words oil issueand new solutions have the implicature that a problem with energy and oil doesindeed exist, even though it is never made explicit and only reerred to in thebodycopy as the urgent need to access new energy resources.

All the headlines o the print adverts have a similar, mirror-like structure andProblem Solution, Given New division:

EXPLORINGTHE WORLD

FOR GAS

TO WARMYOUR

WINTER

As can be seen rom the headlines, the great oil adventure continues and is notchallenged in any substantial way, its problematic nature is implied but neverexplicitly mentioned. The solutions are expressed with metaphors that reer tonew sources o energy (solar energy, wind power, other alternative solutions) ornew gas and oil elds, blurring the boundaries between renewable and non-re-newable energy resources. The dominant claim is about bringing novelty withincontinuity and tradition: claiming change while maintaining stability.

The analysis o the images and the headlines has so ar shown that the compa-ny seems to assume or itsel an identity related to a task useul or the common

and general good o humankind, merging the commonly perceived needs andbelies o present-day society (meeting energy needs, searching or better livingconditions through the power o knowledge) and the ethics and working princi-ples o the company. Since the addressee o the advert is part o humankind andpresent-day society, the needs and belies expressed in the adverts are extendedto them. Total construes itsel as an ecologically-minded company evoking ap-parently non-controversial values.

ALWAYS KEEPINGENERGY

IN RESERVE

AND CULTIVATINGOTHERSOLUTIONS

CONTINUINGTHE GREAT OIL

ADVENTURE

AND BRINGINGNEW WINDSOF CHANGE


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8.2. The bodycopy

What ollows is the bodycopy (Enhancer) o the blue advert:

Total has been an innovator in oil exploration or orty years. Today, we are drillingto ever greater depths in response to an urgent need to access new energy resources.

We have also been preparing the way or the uture o solar energy since the 1980s.Through our active involvement in the development o photovoltaic systems, Total isalready equipping populations ar rom electricity networks.

In the bodycopy, verb processes are all expressed in the perective aspect or con-tinuous tenses:Present perect verb clauses: Total has been;Present continuous: we are drilling, Total is already equipping,;Present perect continuous: We have also been preparing;(even the headlines have continuous non-nite clauses: reviewing, bringing).

All these verbs have we / Total as explicit or ellipted subject which also reers tothe logo on which the whole advert converges. The choices in tense and aspectconvey development, change over time and progress rom a past which is close tous, through the present towards a transition to the uture o the Ideal sunlight oknowledge, research and technology. More specically, the rst three sentenceso the bodycopy identiy respectively past, present and uture time conveying thenotions o experience, tradition, continuity o research. Through a relational at-tributive process Total (Carrier) projects itsel as an innovator(Attribute) in itsspecic, traditional eld o activity (for forty years: rom the past to the present).

Temporal deixis (today) and continuous present (we are drilling) situate inthe present one o the solutions to the oil issue, namely to access new energy re-sources. Notice that the innitival clause presents oil as a new energy resource bybanking on the linguistic ambiguity o reerence in the noun phrase: the actualnovelty is drilling new oil elds in previously inaccessible locations, not nd-ing new, in the sense o alternative, energy sources (see previous section or asimilar ambiguity in the headlines). The oil issue is overtly acknowledged, but thesolutions oered as the result o research is drilling to even greater depths ollow-ing the tradition o being an innovatorin oil exploration. Through a nominalisedclause expressing causal enhancement (in response to an urgent need to access newenergy resources) Total appears to be operating or the progress o humankind andconstructs consensus about practices which today are rather problematic in eco-

logical terms but are also central to its activity: the attractive denition o newenergy resources in the end-ocus confates oil (the actual reerent) with what ol-lows (solar energy). The identity projected as new is based on the traditional andproblematic practice o a company orever in search o new oil elds to exploit.

The other uture solutions the company oers are linked to the exploitationo solar energy, presented as part o mainstream research conducted by the com-pany since the 1980s (what is really new research is presented as traditional orthe oil company). The verbal reerence to the sun is powerully reinorced andoregrounded by the salient image o the sun on the same page (highly contrast-


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ing white on the black and dark blue sky). Interestingly, though, this solutiondoes not become generalised or all humankind, but is developed or populations

far from the electricity networks, which clearly entails no change or the populationswho already have non-renewable uels as energy resources. This entailment iseasily lost i the bodycopy is read rather cursorily or not read at all, as oten hap-pens with this type o text.

In the bodycopy, all the subjects o the main clauses reer to the company: To-tal or the reader-exclusive we (the company). Thanks to the synergic interplay odierent semiotic codes drawn upon in the text, however, the rst person pluralwe tends to become globally inclusive o humanity as a whole, or, at the very least,inclusive o the addressees o the advert, as overtly stated in the slogan (our energyis your energy).

All the verb processes indicate change and the shit rom a past tradition and apresent need or change to a uture o answers, solutions and novelty:Relational Attributive process: Total has been an innovatorMaterial processes: we are drilling, we have also been preparing, Total is already equipping,Even nominalised processes contribute to giving the sense o change and pro-gression: exploration, involvement, development. In this specic context, nominali-sations, that is processes crystallised into nouns (Hodge and Kress, 1993: 20-23;Fairclough, 2003: 12-13, 143), have the eect o implying the close connectionbetween the activity o the company and the interests o humankind becausetheir eect is one o generalising and abstracting issues, xing the action in atimeless present and unlimited time span (Fairclough, 2003: 152). To reinorcethis impression, noun phrases reer to the semantic eld o science and technol-ogy, conveying the idea o positive development and creating hybridization odiscourses (see below): innovator response, way, systems, networks, energy. Adjectivestoo express a sense o change and inevitable moving towards the uture: urgent

need, new energy resources, our active involvement.Close analysis o the other bodycopies provided in Appendix 1 conrms and

reinorces the above analysis and interpretation. In particular, verbs o move-ment (my underline) used metaphorically to mean orward-looking research,improvement in living conditions and uture progress are the overwhelmingmajority. Lexical items reerring to the semantic eld o exploration (my italics)are also highly requent and oregrounded.

8.3. The slogan and the logo

OUR ENERGY IS YOUR ENERGY

The slogan (Primary Announcement)6 is an explicit attempt to blur the bound-ary between the company and the addressee o the advert by using a relationalidentiying process which takes the orm o a oregrounded symmetry, creating aclose relationship o similarity between two the elements unctioning as Identi-er and Identied. This reinorces the parallelisms in the whole advert betweenthe visual and verbal message. But notice that the similarity (visually and ver-bally) is only apparent, not complete.


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The rst person deixis (our), which in the bodycopy has identied the companybut was also extended to society and humankind, claries that corporate interestsand products match the needs o the addressees o the advert and, as a consequence,o the general public. The slogan establishes a clear identity between addresserand addressees o the advert: i everybody benets rom the companys work, thisentails that the company works or the progress o humankind. This intention is

clearly conrmed by the comments o the company itsel about the advert:

The creative concept:A baseline:Our energy is your energyUnderlying the commitment o the entire group and the involvement o all itsemployees.Signiying responsibility, attentiveness and proximity. (Total, 2005: The CreativeConcept)

In the slogan, our energy is ambiguous and can mean both the energy we put intoour exploration and research and the energy that we produce or you; the mes-sage is that Total is not just an energy company, but an energetic company.

The message is reinorced by the act that the gaze o the addressees, attractedby the slogan, continues beyond the writing in block capitals in the white rametowards the vertex o the bottom right-hand quadrant where the Total logo (Em-blem) appears. The Total colourul globe (made by curved Ts) visually telescopesthe meaning o the advert and represents the projected overlapping o the inter-ests, belies and working principles o the company and the world.

9. Overlapping discourses

The Lead and Primary Announcements, ollowing Cheong (2004), visually rein-orce the double characteristic o each Total print advert. Human participantson both sides o each advert constitute the Loci o Attention (the most salientand attention-arresting eatures); the natural environments around these par-ticipants make up the Complements to the Locus o Attention. This is a power-ul interpersonal visual metaphor oregrounding the importance in nature othe human element by placing it in awe-inspiring and supposedly ecologicallysound environments.

As seen in the analysis, the Primary Announcements (headlines and slogan)

and the Enhancer (bodycopy) contribute to raising the Contextualization Poten-tial, i.e. the degree to which the meaning o the images is contextualised by thetext, and to limiting the Interpretative Space within which meaning is createdand hence the Semantic Eervescence (Cheong, 2004). The linguistic compo-nents o the advert direct the interpretation towards the Problem Solution pat-tern establishing a Bidirectional Investment o meaning whereby the Leads aresimilarly interpreted as a Problem solved by Total (represented in the Emblem).

Cheong, however, never envisages in her work that the Enhancer is rarelyread by the reader o a magazine, while the analyst reads it in detail giving it


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more importance than a normal reader would usually do. In the case in whichonly the Leads and the Emblem are noticed by the magazine reader, the doublecharacteristic o the Total print adverts by itsel limits the Semantic Eervescenceand Interpretative Space; interestingly enough, without the contribution o thelinguistic components, the Total adverts can still be interpreted as an ecologicalvisual narrative developing towards the Emblem (logo) placed in the deault po-

sition (bottom right). The result is that the company tells an ecological tale (thequest I mentioned beore) in two steps: the humans who are the Loci o Attentionnd their objective in the natural surroundings which are related to the Emblemrepresenting the company. The interpretation slightly shits rom Problem So-lution to Narration i the Contextualization Potential is achieved through visualelements only, but it is still eective in creating consensus towards the company.

In the minimalist denition given in Toolan (2001:6), narrative is a per-ceived sequence o non-randomly connected events. He also underlines thatnarrative depends on the addressee seeing it as a narrative (ibid.: 7). In actualact, the visual elements o the Total print adverts clearly concur in highlightingthe relation between the two pictures and contribute to a unied interpretationo the advert even i the addressee overlooks its verbal components. The binarystructure o Problem Solution becomes the quest o the participants who ndtheir reward with the help o a donor (Total) (see Propps unctions and roles,Propp, 1968). On the other hand, even the Enhancer (bodycopy) can be read as anarrative o the companys achievements (see also Total, 2006, The Campaign).

The video o the 2005 Total campaign, as well as the 2006/2007 video, is also adouble narrative achieved by means o the split-screen technique and very limitedverbal elements (apart rom the repetition o the same line in the soundtrack song)7.

10. A unified multiplicity of messages:energy doubled

As seen in the analysis o the adverts, verbal and visual cues, each with theirown dierent logic and aordances (Kress, 2003) contribute to making mean-ing perceived as unitary while telescoping a multiplicity o strands and potentialinterpretations (Iedema, 2003; Lim, 2004). The co-patterning o verbal and visualelements acilitates the process o decoding the print adverts and mutually rein-orces its impact on the addressee by leading him/her to process their metaphor-ic meaning and ultimately the complexity o their messages. The analysis showshow the logic o showing (visual) and the logic o telling (verbal) (Kress, 2003) areboth closely interrelated to convey the message in a seemingly uncontroversial

manner by appealing to commonly shared needs to solve the energy issue or theinterest and progress o humankind. A closer analysis, however, shows that thetraditional working principles and belies o the oil company surace throughlanguage and images, revealing discrepancies between the values conveyed andactual working practices.

The world construed by the adverts (language and images) appeals to one othe main needs o human nature: the desire to improve living conditions mov-ing rom a problematic situation to a world o ideal progress. Intertextually, thisconstrued world evokes a traditional quest rom the depths o ignorance and di-


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culties to the enlightenment o knowledge and uture development. The meansto achieve this end are the positivist and certain values o belie in improvement,research, knowledge, scientic discoveries and technology. Corporate identityis conveyed as based on change, progress and care or humankind (better liv-ing conditions and care or the environment). The assumptions underlying theadverts respond to values deeply rooted in our society and are based on belies

which are endorsed by deault in our culture. This world-view is rather tradition-al and intertextually evokes discourse and images o a positivist era rather thanpresent-day society. The adverts, thereore, appeal to the need or security andreassurance that people have in times o uncertainty and general lack o positiveexpectations or the uture. Consensus is created on the apparently non-contro-versial value o progress shared by addresser and addressees.

The adverts never mention the underlying, concomitant problems o dimin-ishing resources and pollution implicitly entailed by the need or change, newsolutions and renewable energy sources. The images, the headlines, the sloganand the logo make the issue generally uncontroversial and shared between thecompany, portrayed as ecologically-minded, and the stakeholders; the actualproblems are blurred and neutralised, while the solutions coincide with thecompanys policies and practices. In this sense there is proound homogeneity inthe oregrounded parallelism and mirror-like chiasmus o images, headlines andslogan. The visual communication and its logic o showing convey the central-ity o concern or nature and the uture o humankind, highlighting the narra-tive quality o the advert as a quest; the verbal communication o the headlinesand the slogan contribute, within the logic o telling, to reinorcing the implica-ture that alternative solutions proposed by Total are positive opportunities orprogress (Problem Solution).

Thus, the double becomes the main theme and stylistic device o the whole

campaign. I use double here in the stylistic meaning o double identity o onesame character (Fusillo, 1998: 21), in this case, o the same company. Energy dou-bled is conveniently polysemous: it can mean twice as much energy, but alsotwo kinds o energy (renewable and non-renewable, oil and alternative sourceso energy), and it can mean urthermore, we are redoubling our eorts to ndsolutions to world energy problems. Visual composition contributes to the per-ception o a close relationship between, and common interpretation o, the twoimages, and so do the campaigns videos: the headlines orm a chiasmus-likedouble, and the slogan is a parallelism identiying a double. Even the logo canbe considered a visual, telescoped double: Total and the earth. The overt displayo the theme o the double/dual identity as central tends to neutralise the eect

o revealing the dual identity o the company by presenting it not just as posi-tive but as a real asset or humankind. Overtly showing the contradiction in theidentity o the company (producer o highly polluting uels but seemingly envi-ronmentally oriented) and actually displaying it as a shared value prevents anyobjection, ensures that the double identity becomes shared knowledge and con-tribute to the undamental visual and verbal moti o the campaign on it (see also

Total, 2005: Why the campaign?).It seems to me, thereore, that the conficting aspects o the message derive

rom what Critical Discourse Analysis labels hybridization o discourses8 (Fair-


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clough, 1992a: 222) which tends to be a characteristic o advertising discourse.This specic campaign draws on argumentative discourse and, in particular, onseemingly scientic argumentative discourse: the Problem Solution inorma-tion structure is highlighted linguistically and visually, infuencing even thevisual layout o the pages (also see Vastas analysis o Shell print adverts, 2005).

At the same time, it also construes the narrative o a quest. Hortatory discourse

is pervasive and is designed to persuade the reader/user that the solutions pre-sented are the only viable ones (Fairclough, 2003: 96), establishing causal linksbetween problems and solutions (the claim o the advert) or between the natu-ral and apparently ideal ending o the quest, as inevitable.

The conficting aspects o the company identity, however, cannot be com-pletely deleted in communication and are more apparent in the bodycopies,where the logic o telling (and explaining) takes over rom the logic o showing(and appearing). This would conrm the point made by Cheong about the Con-textualization Potential, concerning the dierent aordances o text and image.

As the discoursal analysis o the bodycopies shows (see section 8.2.), the writtenlanguage is tale-telling and reveals hybridisation in the promotion o traditional,positivist values: the actual problematic issues at stake peer through languagein entailments and implicatures. On the one hand, the interpersonal metaunc-tion o language contributes throughout to the construction o a positive dou-ble identity, establishing shared knowledge and values between addresser andaddressees o the advert and the sweeping acceptance o generalisations (we/Total implicitly becomes everybody); on the other hand, analysis o the idea-tional metaunction (verb processes, nominalizations, elds o experience, etc)reveals inconsistencies and, as a consequence, contradictions in the construc-tion o identity. It shows the problematic nature o the double identity o an oilcompany which seems to oer alternative and ecological solutions. The cultural

stereotypes into which the company taps to create consensus are slightly dier-ent in each case, but the eect is cumulative and coherent because the negativeaspects related to the actual practice o the company are narcotized and lami-nated away in the construal o its identity, conrming the hypothesis set out atthe beginning o the paper.

Further scope or research is oered by the 2006 and 2007 campaigns whichare based on similar communicative principles, but avoid some o the cross-cultural and cross-linguistic problems incurred by the 2005 Total campaign (seeBortoluzzi & Vasta, 2007). The 2005 European campaign thus remains a unda-mental step and a rehearsal or the launch o the corporate identity campaign inChina and in the Middle East in the ollowing years.

11. Conclusions

This chapter has adopted a blended approach to multimodal analysis in the at-tempt to capture the complexity o co-deployed semiotic codes in print adver-tisements and use tools o investigation rom dierent areas o linguistic andmultisemiotic research. Recent developments in multimodal analysis have beenused including analytic and interpretative tools oered by research in discourse


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and critical discourse analysis; the ultimate aim o such work is to develop anintegrated ramework through which to describe, interpret and evaluate mul-timodal texts, starting rom a careul and detailed investigation o multisemi-otic elements at the microlevel and interpreting and evaluating them within thesocio-cultural ramework o contexts o production.

The blended approach adopted here will need to be tested and improved in

studies on a wider scale (synchronic and diachronic) and involving a variety o gen-res and text-types. One o the most important issues or urther research is testingwhether there are consistencies in how visual and verbal elements interact, andhave dierent eects on meaning-making when constructing identity. Anothercomplex question or urther research is to what extent the polysemous qualityo the message is infuenced by the characteristics o the communities o prac-tice; in other words, do dierent communities o practice interpret dierentlythe interaction between visual and verbal cues in the same corporate campaign?

In higher education, critical multimodal analysis can oer students insightsinto the complexities o meaning-making and the subtle relation between verbaland visual communication. It also provides new critical tools or reading and in-terpreting texts which are oten passively accepted as innocuous and unavoid-ably present in our lives, while contributing to multimodal competence (Vasta,2002). The scope or using critical multimodal analysis is ar and wide as is thescope or improvement and urther development o this blended approach tomultimodal text analysis.


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1 I would like to thank NicolettaVasta (University o Udine) or hercomments and suggestions, Antho-ny Baldry (University o Messina)or oering generous and detailedeedback, Keith Mitchell (Universi-ty o Edinburgh) or his comments

on an early drat o this work. I amalso grateul to Giovanni Ferrin(University o Udine in Pordenone)or his technical support.

2 Total explicitly writes that they cap-italise on the rst phase o the cam-paign (Total, 2006, The Campaign).

3 Lead and Display: the visual com-ponents; Emblem: logo; Announce-ment: headlines, payo and slogan;Enhancer: bodycopy; Tag and Call-and-Visit: small print inormation(Cheong, 2004).

4 The unction o epistemic mo-dals is to make judgements aboutthe possibility, etc., that somethingis or is not the case. Epistemic mo-dality is, that is to say, the modalityo propositions, in the strict senseo the term, rather than o actions,states, events, etc. (Palmer, 1990: 50)

5 Framing is one o the three in-terrelated systems o compositions

(along with Inormation value andSalience (see previous sections)posited by Kress and van Leeuwen(2006), who write: [t]he presenceor absence o raming devices (real-ised by elements which create divid-ing lines, or by actual rame lines)disconnects or connects elementso the image, signiying that theybelong or do not belong together insome sense. (ibid.: 177).

6 However relevant the slogan(or baseline) can be in a print ad,Cheong (2004) labels it Primary

Announcement, like the headlines.This turns out to be quite conus-ing, since the two components haverather dierent deault unctionsand collocations in print ads. Addi-tionally, it is not always clear in heranalysis where the dividing linebetween Primary and Secondary

Announcements should be drawn.

7 see Vasta (this volume) and Bor-toluzzi and Vasta (2007).

8 In present-day use o languagethere is a tendency to give rise toa great variety o mixed or hybridorms o discourse, in which com-promises are eected betweenthem and more traditional non-commodied or non-democratiseddiscourse practices. (Fairclough,1992a: 222).

notes


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Appendix 1

Bodycopies:

The blue advert:Total has been an innovatorin oil exploration or orty years. Today, we are drill-

ing to ever greater depths in response to an urgent need to access new energyresources. We have also been preparing the way or the uture o solar energysince the 1980s. Through our active involvement in the developmento photovoltaicsystems, Total is already equipping populations ar rom electricity networks.

The sand and snow advert:Meeting energy needs means relying more and more on natural gas. Apioneerinthe gas industry and a world player in this eld today, Total is present every stepon the way, rom exploring or reserves and bringing them into production, todelivering them to the customers.

The road and eld advert:Today more than ever beore mobility rules the day. Which is why the discoveryo new oil resources is a key objective or Total. But its not the only one. We arealso developing innovative, more effective, ever more environmentally-friendly fuels. Tocontinue on the road to the uture.

The wind advert:With a rm commitment to developing innovative and environmental riendlyprojects, Total an international oil and gas group is also moving orward inthe eld o renewable energy. We are constantly at workexploring new solutions,

including the use o wind power.

Appendix 2

The Wandererby Caspar David Friedrich

Bortoluzzi Thresholds

Documents

Transcript of Bortoluzzi Thresholds